High octane thrills, chills and an (un)healthy dosage of familial anguish – Michael Mann’s Ferrari is an exhilarating portrait of a man whose complexity is shaped by a past scarred by immense grief.

Anyone But You is a modern-day adaptation of Shakespeare’s Much Ado About Nothing, with none of the charm of an adaptation like 10 Things I Hate About You (1999).

Migration is not trying to elevate the road trip comedy or be innovative for animation. Its goal is to entertain families and make kids smile. Movies need to do that more.

Insightful, fiendishly hysterical, and (albeit slightly overwhelmingly) emblematic, Dream Scenario is a surrealist delirium that moulds one of 2023’s most inventive premises into a deeply moving, melancholic parable on the perks and perils of sudden celebrity.

Campy, comical, and twisted, Bottoms is an all-American teenage wet dream dripping in homoerotic high school fantasies. You’ll definitely be talking about this fight club!

If you have no interest in historical accuracy and enjoy stunning cinematography, awkward romancing, spectacular war scenes, and hate the English, then Napoleon is the film for you. 

Despite being overstuffed, The Ballad Of Songbirds & Snakes still manages to fight for its place in The Hunger Games series as it is filled with great performances, effective world building and entertainment value. 

Leaving little room for seconds, Thanksgiving reminds us to be thankful for the simple pleasures that horror brings, and not unlike the dishes that might adorn a festive dinner table, there's plenty of corn to go around.

Emerald Fennell’s Saltburn is a frighteningly delicious and decadent dessert, one that you immediately regret eating, but cannot get off your mind no matter how hard you try.

In a world obsessed with John Wick, as well as its various imitators, it seems rare that we get a film that shakes up the revenge genre.

Move aside Taylor Swift. The re-release of Stop Making Sense reiterates that Talking Heads still holds the title for the best concert film ever made.

Killers of the Flower Moon is not only a landmark film for Scorsese as a filmmaker but also tells the story of a horrific time in American history, surrounded in shame and regret.

Serviceable but not particularly functional, Five Nights at Freddy's is a horror film that's as clunky and awkward as the lumbering animal robots it revolves around.

While Twin Peaks: Fire Walk with Me is not the most audience (or even fan) friendly experience around, it's a devastating look at a life cut short.

Despite some initial promise, The Exorcist: Believer is a half-hearted attempt at best, and complacent with mediocrity at worst.

Blue Beetle is peak escapism and enjoyment, setting an interesting tone for where James Gunn and Peter Safran take the DC universe next.

Few things in cinema are as certain as the Liam Neeson action movies released at least once or twice a year for the past decade and a half.

Overall, It Lives Inside illustrates itself to be a unique conceptual endeavour which struggles under the weight of its own potential. Although somewhat competent in facets of its execution, it ultimately sabotages its potency and settles upon a derivatively restrained final product which unfortunately struggles to leave a lasting impression.

Kenneth Branagh has given audiences a mixed bag with A Haunting in Venice. The film offers nothing new in terms of mystery or thrills, and wastes it’s strong ensemble cast, which is the real disappointment.

While The Nun II isn't exactly breathing new life into the genre, horror fans should find themselves satisfied, offering a course correction after the first entry underwhelmed.